Japanese Culture vs. Chinese Culture: the Loss of Patriotism
The Japanese Culture vs. The Chinese Culture: The loss of Patriotism
Dallas was launched to Europe in the 1980s. Before it was launched to Europe, the ideal mission for European television was has generally been perceived as educational. According to Ang’s essay, “(Not) Coming to Terms With Dallas, most European critics believed that television should be a “window on the world” for the mass audience, and should enhance people’s awareness of their duties as national citizens. Yet, Dallas, being an American commercial television soap opera, is totally different from the European critics’ notion of “quality programs”. Today, many people believe that Dallas has led to the commercialization of European television, which is frequently cited as a metaphor for the decline of classical European culture. Similarly, the intrusion of the Japanese culture to the Chinese culture since the early 90s also serves as the primary reason of the loss of patriotism among many Chinese people. When Dallas first arrived to Europe in 1981, it was accompanied with rumors, speculations, and publicity. Moral panic was created around the show. In fact, Dallas undoubtedly managed to capture the popular imagination, and it is surely the key of the phenomenal popular success of the American television show in Europe. Nevertheless, Dallas soon became the object of great debate among the arbiters of the European official culture. The “Americanness” of the program was the major concern of the European official critics, and it was one of the reasons that the show was culturally positioned in serious public discourse. To the European officials, Dallas signified “[d]anger and a threat to the national community”. As Ang has cited in her essay, “[t]he conventional model of European television , organized according to a state-controlled, national public service policy, is in crisis, ” Dallas in fact was an unwelcome one to most of the European official. Ang also believes that “[D]allas is rejected
Dallas was launched to Europe in the 1980s. Before it was launched to Europe, the ideal mission for European television was has generally been perceived as educational. According to Ang’s essay, “(Not) Coming to Terms With Dallas, most European critics believed that television should be a “window on the world” for the mass audience, and should enhance people’s awareness of their duties as national citizens. Yet, Dallas, being an American commercial television soap opera, is totally different from the European critics’ notion of “quality programs”. Today, many people believe that Dallas has led to the commercialization of European television, which is frequently cited as a metaphor for the decline of classical European culture. Similarly, the intrusion of the Japanese culture to the Chinese culture since the early 90s also serves as the primary reason of the loss of patriotism among many Chinese people. When Dallas first arrived to Europe in 1981, it was accompanied with rumors, speculations, and publicity. Moral panic was created around the show. In fact, Dallas undoubtedly managed to capture the popular imagination, and it is surely the key of the phenomenal popular success of the American television show in Europe. Nevertheless, Dallas soon became the object of great debate among the arbiters of the European official culture. The “Americanness” of the program was the major concern of the European official critics, and it was one of the reasons that the show was culturally positioned in serious public discourse. To the European officials, Dallas signified “[d]anger and a threat to the national community”. As Ang has cited in her essay, “[t]he conventional model of European television , organized according to a state-controlled, national public service policy, is in crisis, ” Dallas in fact was an unwelcome one to most of the European official. Ang also believes that “[D]allas is rejected
Cited: Ang, Ien. “(Not Coming to Terms with Dallas.” Global Television. Ed. Cynthia Scneider and Brian Wallis. MITP 1988. Barthes, Roland. Mythologies. Trans. Annette Lavers. New York: Hill and Wang, 1972. “Some Online Debate between Chinese and Japanese”